Disquiet is a group show curated by Jason Williams, featuring painting, film, sculpture, print and collage works by artists Jonathan William Pettett, Jeffrey Louis-Reed, Judy Martin, Claude Garanjoud, Sexton Ming, Rebecca Snotflower, Liz Finch, Albert Oehlen, XTX, Romain Perrot and Andy Bolus.

This group exhibition uses the title Disquiet to describe the broad range of unsettling or disruptive affects and experiences associated with making and looking at certain kinds of art. It takes its cue from one example in the painting The Ambassadors (1533) by Hans Holbein the Younger.

Free to DC members, £3 for non-members

ABOUT THE ARTISTS

Jeffrey Louis-Reed - I've finally got my country back

American born Jeffrey Louis-Reed is a prolific artist, musician, DJ etc. His work has had common themes the use of found objects, non art materials, found
photographs, sheet music and ephemera – and the use of a restricted palette of off white gesso, black and red. He happily paints over other people’s
paintings, enlivening what he might refer to as a boring still life; painting on vases, tea pots, plates; oddly juxta-positioning objects to make interesting
tableaux or installation. It is not naïve, he was assistant to similar polymath Derek Jarman in Dungeness, but it's still raw. Not a subscriber to elitist art, he
sets realistic prices. He encourages and welcomes offers on his art; if derisory, he can always refuse. With his vast appetite for work, he produced over
11,000 pieces last year. This one made in direct response to UKIP/Brexit.
www.disastersatwork.com

Jonathan Keneth William Pettit

Jonathan Keneth William Pettit was born in 1952 and lives in Hailsham. Jonathan studied art illustration, printmaking and painting for seven years, gaining a
vocational certificate in illustation and printmaking and an art and design (distinction) in 1976 and upper second Byam Shaw diploma in painting 1977.
Jonathan sees images in his mind that are not hallucinations, which he somehow discribles as "outside his body and not illusion or delusion. These images
are inner inside pictures." Jonathan is extremely visually orientated, not verbal. These images are real to him and permanent unlike solid matter which he
thinks of as "unreal, an illusion and impermanent." Jonathan had an exhibition (he thinks) with South East Arts in 2003 in Brighton and Carbion Arts Hastings
2015. His work is available via Outside In. http://www.outsidein.org.uk/ a platform founded by Pallant House Gallery for artists who see themselves as
facing barriers to the art world due to health, disability, social circumstance or isolation.

Liz Finch

Liz Finch studied Fine Art in Lancashire and Devon and now works from her studio in Hastings Old Town. She works with a wide range of media incorporating
drawing, painting and performance, with found and made objects. Mostly figurative the narrative of her art is based on early childhood perceptions and a
preoccupation with the ordinary. She is interested both random and carefully composed work and focuses on atmospheric tension more than aesthetics or
accuracy. The results are often haunting and poetic.

Jason Williams and Albert Oehlen

Albert Oehlen born in Krefeld, Germany in 1954. He attended the Hochschule für Bildende Künste in Hamburg, where he studied art under Sigmar Polke
until 1981. During the 1980s he began combining abstract and figurative elements of painting in his works, as part of a reaction to the prevailing Neo-
Expressionist aesthetic of the time. He established a close friendship with German artist Martin Kippenberger and towards the end of the decade he had
dedicated himself completely to abstract painting. As early as a decade ago, Oehlen set up a studio in a tower of the city walls of Segovia, where he began
to work on computer generated images. Oehlen’s spatially intriguing works, in which figuration and abstraction collide, are a strong reminder of the
complex forces that were involved during the resurgence of painting at the latter part of the previous century.

Albert Oehlen has exhibited extensively throughout the United States and Europe. Recent solo exhibitions of his work have been held in institutions such as
the Museo di Capodimonte in Naples, Italy and the Musee d' Art Moderne de la Ville de Paris in 2009. He has also participated in exhibitions in major
institutions such as the Musee Cantonal Des Beaux Arts in Lausanne, the Renaissance Society in Chicago and at the Kunsthalle in Basel. Oehlen's show at
MOCA Miami in 2005 marked his first major solo exhibition at a museum in the United States. In 2009 Taschen published an oversized artist's monograph as
part of its XL series that covers the entire scope of Oehlen's oeuvre. Albert Oehlen now lives and works in Switzerland.
These collaborations with Jason Williams were made in 2006 while working towards the 'I will Always Chapion Bad Painting Exhibition'. Another was shown at
the Whitechapel Gallery, London. The Arnolfini, Bristol and Galerie Max Hetzler, Berlin.

Jason Williams has a horrible feeling it is very theraputic for some people to cut up images of the human form. I first saw "erotic" collage in the 70's one
possibly made by a cousin, it was a tree made of legs, a few arms, breasts and other disconnected body parts hung above the fire place in a family home. He
had good job with Rothmans cigarettes, wife and 2.4 children it all seamed disconcertingly normal. A product of the time and I have been haunted by that
picture. I have also been influenced the DADA collage, Décollage of the Nouveau Réalisme (new realism) and later Punk imagery and most recently a
unpleasent break up where the sort of ripping up cleansing rituals mostly associated with teenage girls and Buffy the vampire slayer witchcraft (setting fire
to ex s gear, graffittiting partners cars etc) became interesting in a purly unacted apon artistic way along with Rod Mckuens without a worry in the world on
repeat became a way of dealing with break up abuse, hurt etc and not forgetting the influence of Andy Bolus who makes more "ugly" ghost train / horror
house style porno cut ups and is the video editor for Free As Dead projecting else where in this show. This piece may also owe something to the writtings of Bataille* and feels an to me like a perfect mixture of high and low art.
*http://supervert.com/elibrary/georges_bataille/the...

Judy Martin

Judy Martin works in painting, printmaking and collage and more recently in small-scale sculpture using clay, cardboard and plaster and wire. The threads of
her current work began with a series of paintings and drawings titled Family Photos, using snapshots from the family archive of her parents and grandparents
generations. This gradually became an exploration of themes of death, bereavement and family dysfunction, which led to a broader examination in terms of
'what will remain of us' - referring to our photos, possessions, artefacts, mementoes and memorials, and even the remnants of our actual physicality,
including mummified and preserved bodies and sculptural referents.
Together with images of personal interest, Judy randomly collects photos, newspaper clippings, tear sheets and quotes that may seem of tangential
relevance but in some way complement or speak to her visual themes. The possible sentiment or morbidity which might be at work in this context is
boundaried by the making processes, taking a rigorous approach to image development that can enable complex, disguised or even humorous interpretation.
Judy lives and works in Brighton and is a member of the Blue Monkey Network of artists based in Eastbourne and along the south coast.

FREE AS DEAD, Romian Perrot & Andy Bolus, VHS 2015

This Disturbing shadowy 21 minute collaborative experimental horror short comes from two highly
original creators Andy Bolus AKA (Evil Moisture) and Harsh Noise Wall* champion Romain Perrot AKA (Vomir). As the ominous church organ tones creak on the
soundtrack it seams as if choking clouds of sulfur engulf the entire projection. The plot concerns a man bound to death and a young girl (played by a manikin
for an added level of creepy) following a path of ritualistic transfiguration to ultimately both become as FREE AS DEAD. Described as "A voyage into the
darkest and most psychedelic nether regions of the subconscious." and "somewhere between Begotten and Beauty and the Beast". We show it here on a
constantly projected loop.
*Harsh noise wall artists produce long unchanging, monolithic "walls" of static noise without dynamics. The results can be cathartic and / or soothing.

Claude Garanjoud

After studying at the Beaux-Arts in Grenoble and Paris, where he taught drawing until 1958, Claude devoted himself entirely to
painting. Until 1975 he painted extremely stripped down marine spaces in oil, this stormy seascape is one of the first from 1959. Perhaps looking for some
calm himself, from 1980 Claude abandoned colours in oil and used transparent acrylic paint his palette deliberately limited to blue, black and white. He
took an "inner journey" and explored hollow space and emptiness, inspired by Chinese and Japanese thinkers and artists. Up until his death in 2005 he
painted in blue and white / grey tones on uncoated cotton cloth. They were, according to the expression of the painter, "free canvases, floating… alive".

Sexton Ming

Sexton Ming artist, poet and musician who was a founding member of The Medway Poets and Stuckism art movement.
That Sexton Ming is only really possible
to explain in terms of other artists does not mean he lacks originality. Far from it. The fact that any conversation about him to a non-initiate has to start
with a list of more familiar names is simply a recognition that his work is so far out there that you need something to grasp hold of as it drags you in. The
simple explanation goes something along the lines that he sounds like Captain Beefheart, writes poetry like Ivor Cutler, draws like David Shrigley and paints
like, well, a mixture of all three. You can also throw Vivian Stanshall and Ian Dury into the mix, though these crude comparisons hardly do justice to Ming's
individuality.
Ming would be the first to admit that he is a jack of all trades and, technically at least, master of none, having received no training in any of
the disciplines that he pursues. There is not a focus group, A&R man or art dealer on the planet who would advise Gravesend-born Ming to carry on ploughing
his furrow, which is exactly what makes him such a breath of fresh air. His poems often lack grace and meter, his music is ham-fisted and his paintings are
very much those of a man who lacked even the qualifications to get on a foundation course. Yet they still enthral. Ralph Steadman. The cartoonist was more
than used to bizarre excess when working with Hunter S Thompson, but he once drew the line at Ming reading poems about Virginia Woolf with his
underpants at half mast commenting 'You're not a poet, you're a failed intellectual'.

Rebecca Snotflower

Rebecca Snotflower is an artist living in Eastbourne. Her multi disciplinary practice includes- but is not limited to- digital illustration, textile based sculpture
and performance art. Snotflower's art making process works by taking whatever form of creativity best suits an idea's realization. No formal art techniques
are respected here. Her pieces are made from whatever materials can be appropriated from the physical world without too much fuss: from the endless
mine of urban waste, to digital makings, or the use of the human form and voice. Snotflower's art practice survives by being defiantly fluid and
interchangeable in an increasingly bleak reality where creative freedoms are constantly eroded- politically and socially. But the investment of belief in the
power of art is that which makes it succseed and be a worthy persuit. The images selected for “Disquiet” are noteable in that the original seed of ideas
behind them have sprung from Snotflower's personal experiences which are hard to define... ranging from subtle uneasieness to episodes of eco- neurosis
and depression. The creation of the illustrations were in all cases attempts to convey images with ethereal uncanniness: a sense of the disturbed. However.
The end results are grotesque and frivolous. They have become a clownish refelction of the original implied idea. If they were a film they would be “Carry
On Up The Disquiet.” By presenting these personal experiences as a joke to be shared with the viewer, Snotflower's illustrations serve as a sheild, or form of
bannishing ritual, and the original disquiet is lost, (for better or for worse,) within the evolved pieces.

https://www.flickr.com/photos/x-raybex/

XTX

Wishes to remain anonymou